Radboud Mens is a sound-artist from Amsterdam whose work is rooted in and continues to develop within the broadest definition of contemporary music. While his interest in the physical effects of sound on the body gave him a preference for noise in his early work, his later music has contributed more to the development of minimal electronic music, glitch and minimal-dub-techno. Mens uses electronic technology to render audible microscopic sound processes. His sound-world is in a constant state of spatial and temporal flux, and incorporates electronic music, conceptual music, found sound and influences from the media. Momentarily he is working on new compositions that are in between ambient, drone-music, 60/70’s electronic music and electronic noise.
For “Art’s Birthday 2008” he is prepared a short composition based around several historic recordings which are being processed and reprocessed live during the broadcast. Different kinds of digital sound processing are being used to enhance specific frequenties, colours and textures. This results in a deep, cold and spheric music that constantly redefines itself and is represented as a magnification of microscopic sonics.

When God did create the Human he used only piece of loam (for body) and breath (for spirit). That’s why electronic composition “Music of breath” is made only of loam sounds (ocarina) and breath sounds. And what is in the end?

Olesya Rostovskaya was born in 1975. She studied piano at Anna Artobolevskaya class in Central Music School of Tchaikovsky Moscow State Conservatory. Then from 1993 to 2000 she completes her study at Tchaikovsky Moscow State Conservatory as composer (Professor – the head of Conservatory composition department – Albert Leman) and in 2001 she also graduates Moscow Conservatory as organist (Professor – Oleg Yanchenko). In 1998 she began to study playing thereminvox with Lidya Kavina. From 2003 Olesya Rostovskaya became a Russian bell ringer. In 2006 she began to play carillon. In 2008 she has graduated the Saint-Petersburg State University as carillonneur (Professor – Jo Haazen) and in 2009 she has also graduated the Royal Carillon School “Jef Denyn” in Mechelen, Belgium (Professor – Jo Haazen).

Olesya Rostovskaya has huge activity as a composer with her compositions for symphony and chamber orchestras, different ensembles, choir, organ, carillon, thereminvox, vocal, music for theater, radio, electro acoustic music. Among her compositions there are “Markus – Passion”, Concert for thereminvox and orchestra, “Carriage” opera on the book of Nikolay Gogol and many other.

Author Review: Our gift for this Art’s Birthday 2006 (TransDADAexpress) is to show in one hand the DADA DOUBT (DUDA DADÁ, in Spanish) in our present society, where the power is becoming from national to global transnational company, but not less destructive by that; and on the other hand showing the DADA SINCERITY (SINCERIDAD DADÁ, in Spanish) offered to us when listening the new unconventional languages (approaching us to praxis of the life). For the accomplishment of this “gift” we will use as the creative DADA methods as the chance, ready-made, public provocation, phonetic poetry, absurd sense of humor, simultaneity, grotesc critic, use and manipulation of mass media…, and why not?, also of a renewable and healthful ANTIDADA view. Structure: there are six parts: 1-It is been used the instructions given by Tristan Tzara “To build a dadaist poem” who proposed to get a newspaper and a pair of scissors and cut out news to put them into a bag, we have “cut out” news from the radio in internet (in English, French, Czech, Russian…) and cutting them at random with a sound editor, we put them into a MIDI score of classic music (as Kurt Schwitters used to) to manage ourselves to be “infinitely originals composers with a enchanting sensitivity, although misunderstood by the common people” (Tzara). This part appears and disappears throughout hte work. 2-“TransNational, TransGlobal and TransDadá Anthem”: All anthems in the world are listened to at the same time. 3-“Anti-Dadá Auction”: The work ‘Fountain’ by Marcel Duchamp is put up for auction to be used as an urinary and later destroyed. 4-“Industrial Flamenco TransDadá”: They are the actual Andalusian lamentation (“Ay”) in a full post-industrial society and in spite of the workers conformist aims. The”!Ay¡” of the pioneering Andalusian are shown: Agujetas “El Viejo”, José de los Reyes “El Negro”, Cojo Pavón, Juana “La del Cepillo”…, and the tap dance of Carmen Amaya dialoguing with the industrial machines. 5-“Global World for sale”. In this part we sell world wide institutions and other absurd things to big investors. 6-“Black Singing in the urban jungle”: the other jungle immigrants have to go into in the Western world.

LEOPOLDO AMIGO PÉREZ (Cuenca, Spain, 1956). Teacher of Sound Art Workshops in the Polytechnic University of Valencia and in the SGAE of Valencia (Spain). Technical director and founder of the Gabinete de Música Electroacústica of Cuenca (Spain). Investigating visitor in the University of Northwestern in Chicago Illinois and in the University of the State of Michigan in Kalamazoo (USA). At the moment composer and technical assistant in the Radio and Television of the Polytechnic University of Valencia (Spain). MIGUEL MOLINA ALARCÓN (Los Teatinos-Cuenca, Spain, 1960) An intermedia artist who relates sculpture, audiovisual, sound art, performance and public art. Presently he is an Art teacher of Sculpture Department at Universidad Politécnica de Valencia (Spain). Director of R&D group Laboratorio de Creaciones Intermedia (LCI) that it has made the exhibition and publication of the catalogue and double-CD “Noises and Whispers in Avant Gardes: Early Sound Art Works 1909-1945” (UPV-Allegro Records, 2004) with the sonorous work recovery of the Futurism, Dada, Cubofuturism, Bauhaus, Activism, Estridentism, Ultraism, Postism…

TRACK 4
Ivan Marušić Klif, Ivana Ivković: In the place where we are, still looking for some relation
(HRT, Zagreb, 2007)

In the place where we are, still looking for some relation that would bind us to each other. Even without words, even without movement, always speaking, always moving and imperceptibly desiring each other without desire. (Maurice Blanchot: “Awaiting Oblivion”)

We proposed to return to Robert Filliou’s idea of a network of friends on two levels – within the EBU broadcast of Art’s Birthday and in a more intimate setting of an event with an audience throughout the performance space. Using the voices and sounds produced on site, combined with the pre-recorded materials, an intriguing environment was created for both the broadcast audience that had access to the whole of the work, and for the audience present in the space which was not able to follow the whole performance, but experienced only parts of the mosaic. The performance joined together a number of local artists – musicians, performance artists, dramaturges, multimedia and visual artists – both professionals and students in a live, mostly improvised, radio play of words and sounds, layers of music and cracks of silence, laughter and spontaneous noise bursts. Manipulation of found and created sound with contrasting textual and vocal interventions filtered through the distortion of the megaphone, gramophone needle and weak lo-fi speakers, but also digital sound editing in real time. Broadcasted from internet cultural club MaMa- Zagreb Authors: Ivan Marušić-Klif is a multimedia artist from Zagreb. He graduated from the School of Audio Engineering in Amsterdam. He makes light-providing objects and installations; occasionally he makes set designs for theatre performances, films and TV. As a composer, sound technician and producer he creates music, noises and makes sound production for theatre, film and television but also for artistic projects of other authors. Since 1996 he works in the field of interactive installations, robotics and interactive video. He had exhibitions and performed in Croatia and Europe. Ivana Ivković studies at the Department of Dramaturgy at the Academy of Drama Arts in Zagreb. She is a member of the editorial board of Frakcija Magazine for Performing Arts and also collaborates with the 3rd Program of Croatian Radio, several publications, the Centre for Drama Art and works as the general coordinator of Zagreb – Cultural Kapital of Europe 3000, a project jointly organized by Zagreb’s eight independent cultural organizations from the fields of performing arts, new media, visual arts, architecture and theory.

Since 2007, Sobralasolas! gathers an international group of sound artists. Together, they develop a series of acousmatic episodes through network collaboration and performances.

Sobralasolas! does not have preestablished scenario, nor is there a story to be told. It is neither a documentary nor a radio testimony. It is a place for glossolalies and echolalias, on-the-fly recordings and ensemble audio improvisations.

Sobralasolas! intercuts collected and improvised sounds with the aim of recreating a new listening and soniferous environment that is both fictional and real, time-specific and site-specific.

For the Art’s Birthday 2010, Sobralasolas! was first performed as a live network concert from Paris, Nice, Sollefteå, and London, mixed down in Berlin. As the performance unfolds the listener discovers a multitude of possible stories and un-imaginable exchanges.

TRACK 8
Stephie Büttrich, Anne Wellmer: if i could i had but i can’t so i didn’t …live sound track for a radio cartoon
(NLNPO/VPRO, Hilversum, 2010, Radio producer: Armeno Alberts)

Stephie Büttrich—born on the 4th of July in 1968, decided to become a vocal acrobat right after her first scream. So she went to Cologne, Berlin and Den Haag to study music, sounds, and theatre. There she found a flock of people with whom she loves to produce noises and get wild on stage. She worked as a singer, performance artist, composer, producer, and acrobat of vocal science, before finally returning to her primal scream which was actually a gasp for air… Stephie Büttrich lives in Amsterdam.

Anne Wellmer is a sound artist, born to be angry in Germany in 1966, raised to be wild in America 1970-1973 and educated to be noisy in the Netherlands 1992-1997 and discovered silence in the USA 2001-2003. Among her work are performances and installations, music theater pieces and choreographies. She performs as an improvising musician, as a composer and as a singer on various electronic instruments, such as the VCS3 EMS Synthi, the ARP 2600, the STEIM crackle box and a laptop. Anne Wellmer lives in The Hague.
among their collaborations is trio Grand Mal.http://www.nonlinear.demon.nl/gm/home.html